Art (History) in Educational Contexts, Programme of the Conference and Book of Abstracts, (Zagreb, 10 - 11 February, 2023) (original) (raw)
Related papers
Croatian Journal of Education = Hrvatski časopis za odgoj i obrazovanje, 2021
The contents of art history in Croatian grammar schools had initially been included within the Drawing subject. From the mid-20 th century, they were combined with the contents from history. From 1960, both Visual Arts and Music had been equal components within the Art course, but in 1994 it formally became a full independent subject in grammar schools. The last educational reform generated a new subject curriculum in 2019 that completely reorganized the subject and brought it closer to contemporary educational principles. In vocational schools during the 1960s, however, a large number of teaching programs contained contents implemented from visual arts as a part of Croato-Serbian Language and Literature course, together with the basics of aesthetic education. However, they were left out in the later programs from most schools during the 1990s, which happened again in the most recent educational documents that were issued in the last several years. The aim of this paper is to discuss the position and specific qualities of Visual Arts subject or topics from the field of visual arts (art history), as well as the changes this subject has underwent during various educational reforms, by means of analysing the teaching programs of grammar and vocational schools in Croatia from the mid-20 th century to the present day.*
Art History in the Classroom: a Plea for Realism
Journal of Art & Design Education, 1987
The recent wholesale retreat from child-centred methods in art education is bringing about-or has been brought about by-a new interest in art as a teachable, learnable, examinable subject. Practitioners of the 'cognitive-developmental' approach are now engaged upon a considerable programme of research aimed at finding out what can be taught about art and the practice of art at different levels of the school curriculum, and, correspondingly, how much of the previous paradigm of art-as-expression can be jettisoned as worthless baggage. As readers of this journal will know, the results are varied, challenging, sometimes inconsistent, but always heavy with the implication that art and art practice are there to be learnt, possibly as a core subject in general education or possibly as a major fourth addition to the still-predominant three Rs. This is neither the time nor the place to launch an assessment of the 'cognitive-developmental' approach and all its various findings and prescriptions. Art historians, however, are bound to be intrigued by recent investigations into two proximate but actually distinguishable questions. The first is simply what types of art images are to be used in the classroom?-and here I remind you of the fact that the choice is potentially vast; that selectivity is unavoidable. And the second question concerns how these images are to be used-for what purpose, and by what methods? It is excellent that some debate on these important questions should now be under way once more. But our discussion must inevitably have some reference to a newer type of understanding that is being developed within art history itself, an understanding which for some time now has insisted on the historical rootedness of works of art (and all other constructed images) not merely in the emotional system of the artist, but in the social, economic and ideological interchange of the society as a whole. This understanding is not fixed or immutable, thankfully. But art historians are not going to remain happy for long, I suspect, if visual images continue to be used indiscriminately in the classroom merely in the service of an unstructured notion of 'appreciation'; nor, what is worse but no less likely, given the present attack on teachers' resources by government, if art-works are paraded merely out of convenience, or for reasons stemming primarily from the taste of the teacher. This may be a useful moment therefore to voice some fears about the dangers of unreflective art-history in schools, as yet too little thought out, and in some cases provided at too early an age for the children concerned. I argue that we need to abandon the practice of studying received 'masterpieces' alone, such as can be
TEACHING THE HISTORY OF ART WITHIN THE CURRENT STATE OF EDUCATION AND TEACHING.
Da compreensão da arte ao ensino da história da arte, hoje.
Though we may think of History as taking note of change and documenting it, and sociology more as revealing change, as far as I am concerned, history is simply about why, about questions, whereas sociology is much more about functions that actual artistic facts and phenomena as historic-social facts play out in the human-social process of becoming. One and the other must provide, in turn, a causal explanation and/or a functional one, respectively, to use Durkheim’s terminology. In fact, these distinctions are important from an operative viewpoint only. The human does not yet find it easy to assume multiple standpoints, the circularity of the gaze. Yet bit by bit under the more or less intuitive or enlightening effect of theories we haveb been looking at, such as deconstruction and neoperspectivism, cross-disciplinarity gains momentum: analysis in the history of art become the fruit of multiple perspective and unitary perspective, combining multiple durations, synchrony and diachrony, and gleaning knowledge—inevitably—from aesthetics, a discipline without which art cannot be studied, no matter what the perspective. The History of Art is therefore, in Fernández Arenas’s opinion, “…history, technique, philology, sociology, psychology [and more]. It is an eminently humanistic discipline, that demands plurality in the choice of method.” Simultaneously riding the crest of the wave and surfing the tunnel, to pick up on Braudel’s metaphor, “there is not one history, the trade of an historian, but trades, histories, a sum of curiosities, points of view, possibilities…”3 either in general history or in the history of art. So, you will find a few things attached to the structural form of the history of art: analyses that would fit micro-history, events disseminated across historic structures and conjunctures, piecing together fine, fine strands that should be drawn together, tighter and tighter, to capture the human in their net. Not an easy task, to be sure, seeing as it is “…the ability to imagine that makes the past concrete…scientific imagination…manifesting through the power of abstraction”4. As historical narration, it “…dies, because the sign of history is [as Le Goff reminds us, quoting Roland Barthes] …not so much the real as the intelligible…” (see note 3 on Braudel below) and thus changes with the growth of the human itself.
Art in Education – Treasures Within and Treasures Between Us
Nordic Journal of Art and Research
This special issue of Nordic Journal of Arts and Research is a collection of articles based on selected papers presented at the conference Art in Education held at Oslo Metropolitan university in august 2019. Our goal with the conference was to create a widely based international venue for exploring the many ways in which art becomes meaningful and powerful through ways of teaching and arts promotion. A key intention was to include both artists, academics and teachers and to stimulate encounters that cross conventional disciplinary barriers. The two partners organizing the conference were Kulturtanken: Arts for Young Audiences Norway, and the Faculty of Education at Oslo Metropolitan University. The mobilisation of both the artistic and scholarly networks of these two organizations laid the grounds for three days of stimulating interaction, art experiences and discussions
Journal of Education, Culture and Society, Issue1/2015, 2015
Programmes of formal education establish a systematic transfer of knowledge as well as universal values from one generation to another. By that, they ensure the survival of social structures, prevent radical disruptions in their continuity, and serve as basis for general development of a society. Their content and didactic arrangements include interweaving of two basic aspects: the cognitive one and the one related to vzgoja (i.e. upbringing, moral/value education etc.). The latter aims to achieve the ideals of a tolerant, just and lifelong learning society, but seems to be facing increasing challenges, mainly emerging from neoliberal capitalist mentality. Art history as a school subject area in elementary and secondary education may provide an insight beneath the surface of historical events. Thus, it helps develop a critical view towards them and consequently towards the present real-life situations, which contributes to ascending the taxonomic scale of conative educational goals.
228-257 Studies in Art Education A
2020
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. The Issue of Transfer The issue of transfer from the arts to other subject disciplines has almost become a leitmotif of arts education -unhappily it has almost come to define what we do! Perhaps because the arts have lost ground in recent years, it has become almost axiomatic to claim their importance in learning to read, write and compute, or in learning other subjects. Advocates have been anxious to demonstrate that experiences in the arts can advance the general education of K-12 pupils, in particular through the development of higher order thinking skills. As our research team read through the accumulated literature we began to see that the value...
A NEW PARADIGM. AN EMERGING PEDAGOGICAL PARADIGM IN THE TEACHING AND LEARNING OF ART HISTORY.
Da compreensão da arte ao ensino da história da arte, hoje.
We certainly want the best we can get. However it would be erroneous to believe the new school we are fighting for will only come about through the aid of the latest technology, including complex computing solutions. As I have often stated, new technological means must also be transformed into truly new, innovative, life-giving tools. Nothing could be worse, in my opinion, than the turning of pedagogical and didactic means and instruments into educational ends in themselves. Educational progress can not be gauged by ascertaining the number of schools connected to computer networks (I have however amply discussed this elsewhere.). The emerging pedagogical paradigm is, as I have said, a paradigm of change, one of harmony and autonomy, respect for one’s own as well as other cultures, growing almost organically (according to the principles of an educational ethnography), by making the most of, exploring and transforming (according to one’s own models) constantly shifting perspectives, motivations, strengths and means. This project will subsist only in accordance with the principles set forth by the Principle of Subsidiarity determined by the EU. Growing as determined by their needs, the different parties involved in the educational whole may gain in efficacy. That precludes the archaic authoritarianism of anachronistic state bureaucracies. There is a need for adaptation to the principles of EU Law, and articulation with rules such as the Principle of Proportionality, Primacy, Cohesion, Community Loyalty and/or Cooperation, etc., established by the treaties of Maastricht and Amsterdam.
The course offers an introduction to an international history of Art, mainly from the Western perspective, aiming at school graduates who have only a vague understanding of cultural forms. From the origins of art in prehistoric period, through the old ages and antiquity of Greece and Rome, and early-middle ages of Bysantium and Oriental countries, to Europian Roman period and Renaissance, through New Classsicism and the era of the Enlightment, to Modernism, with a stop at today's trends, the students shall be offered to review the entire historical process of human creativity in its various expressions: architecture, frescoes and painting, reliefs and sculptures, decorative and furniture art, and more modern forms such as industrial, graphic and interior designs, media and computer visualisations, etc.
European Journal of Philosphy in Arts Education- Full issue 02 2019 04
2020
Sixth issue of the European Journal of Philosophy in Arts Education Ketil Thorgersen Editor in Chief <br> The second and last EJPAE issue of 2019 is finally due – in 2020. Running a journal is interesting since there are many parameters that are out of the editor's control – such as when reviewers return reviews, when authors return their revisions and so on. And since this journal is run voluntarily, the typesetting and finalising have to fit into my schedule at university. Sometimes this is frustrating, but everyone is gentle and patient, and when I see the great result, such and in this issue, I feel really proud! The issue starts off with an amazing article by <strong>Juvas Marianne Liljas </strong>about a Swedish reform school, the Siljan School in Tällberg, based on the ideals of the Swedish pedagogue Ellen Key. The article is unusually empirical for EJPAE, but uses the empirical data theoretically to discuss aesthetic schooling in an early nineteen centu...